TEACHER’S GUIDE FRONTLINE: “THE MERCHANTS OF COOL” hey spend their days sifting through reams of market research data. They conduct endless surveys and focus groups. They comb the streets, the schools, and the malls, hot on the trail of Tthe "next big thing" that will snare the attention of their prey--a market segment worth an estimated $150 billion a year. They are the merchants of cool: creators and sellers of popular culture who have made teenagers the hottest consumer demographic in America. But are they simply reflecting teen desires or have they begun to manufacture those desires in a bid to secure this lucrative market? And have they gone too far in their attempts to reach the hearts—and wallets—of America's youth? In “The Merchants of Cool,” which first aired Feburary 27, 2001, FRONTLINE correspondent Douglas Rushkoff examines the tactics, techniques, and cultural ramifications of these marketing moguls. Produced by Barak Goodman and Rachel Dretzin, the program talks with top marketers, media executives and cultural/media critics, and explores the symbiotic relationship between the media and today's teens, as each looks to the other for their identity. CURRICULAR CONNECTIONS Just as you might add to your students’ knowledge of a piece of literature by providing historical context and profiling the author, “The Merchants of Cool,” which first aired on PBS February 27, 2001, provides vital background information about key media “storytellers.” Because it exposes motives and techniques, the film is an invaluable tool for teaching media literacy. And because it is about their world, “The Merchants of Cool” is sure to hold students’ attention and provide you with an excellent opportunity to engage them in discussions of culture, history, business, economics, ethics, mathemat- ics, health, performing arts, gender stereotypes, ethnography, literature, social studies, and civics. DEFINING MEDIA LITERACY POP CULTURE PROFILES Traditional literacy is the ability to understand, analyze, and use print to communicate. Media literacy adds the ability to apply these skills to images, Britney Spears sound, and multimedia formats. Cruel Intentions Dawson’s Creek GRADE LEVEL: 9-adult Limp Bizkit In showing examples from the media it analyzes, MTV “The Merchants of Cool” includes some adult rage rock language and sexual content. Educators are Sprite advised to preview the film prior to showing it to students. STATISTICS •There are 31.6 million 12-19 year-olds in the U.S., the largest generation ever. (U.S. Census Bureau, 2000) •Teens are exposed to an estimated 3,000 ads a day. (Adbusters) •65% of U.S. teens have TV sets in their own rooms. (Kaiser Family Foundation) •83% of U.S. teens reported going online last year. (Teen Research Unlimited) •Last year, U.S. teens spent an estimated $105 billion and influenced their parents to spend an additional $48 billion. (Teen Research Unlimited) •In 1998, U.S. companies spent nearly $200 billion on advertising. Worldwide ad spending is estimated at $435 billion. (Advertising Age and the United Nations Human Development Report, cited in Klein) CONNECTING THE DOTS - CORPORATE OWNERSHIP (source: Brill’s Content Jan 2000, p.99) VIACOM w/ partial or joint ownership of: UNIVERSAL / VIVENDI CNN/fn CBS Television ESPN A&M Records CNN CBS & Infinity Radio Stations Lifetime Television Interscope Records Time Magazine The Nashville Network Talk Magazine Island Def Jam Music Group Fortune Magazine Country Music Television Oxygen Media Motown Records People Magazine Simon & Schuster The Biography Channel Universal Pictures Money Magazine (publishers) The History Channel Universal Studios In Style Magazine Blockbuster A&E Network Spencer Gifts Sports Illustrated Scribner (publishers) Book-of-the-Month Club Pocket Books NEWS CORP. w/ partial or joint ownership of: Little, Brown & Co. (publish- Paramount Pictures (Rupert Murdoch) USANetworks (which owns ers) WB Television Network MTV FOX Broadcasting Sci-Fi Channel, Home Spelling Television Los Angeles Dodgers (base- Shopping Network, w/ partial or joint ownership of: Nickelodeon ball team) Ticketmaster, etc.) Oxygen Media VH1 FX Networks United Cinemas Comedy Central Showtime New York Post Seagrams Columbia House (music) TV Land The Weekly Standard Sundance Channel Court TV 16 local CBS TV stations and Harper Collins (publishers) Loews Cineplex 19 local Paramount Stations William Morrow (publishers) Zondervan Publishing House AOL TIME WARNER w/ partial or joint ownership of: (bibles) Time Warner Cable UPN Avon Books HBO Sundance Channel Regan Books Warner Bros. Pictures United Cinemas Warner Bros. Television Comedy Central w/ partial or joint ownership of: MAD Magazine SportsLine USA British Sky Broadcasting Looney Tunes Fox Sports Net TBS Superstation DISNEY Radio City Television Turner Network Television ABC Madison Square Garden (TNT) Hyperion Books Arena Cartoon Network Infoseek New York Knicks (basetball) Atlanta Braves (baseball) Go Network New York Rangers (hockey) Atlanta Hawks (basketball) Miramax Films Speedvision Atlanta Thrashers (hockey) Discover Magazine Outdoor Life World Championship Anaheim Angels (baseball) TheStreet.com Wrestling Mighty Ducks (hockey) Music Choice Europe New Line Cinema CNN CURRICULAR CONNECTIONS 2 TIPS FOR TEACHING MEDIA LITERACY We care about our students, so when we think • Include potential solutions or actions as part that media makers may be manipulating them or of your discussion. Lessons that stop at doing them harm, it’s natural for us to react with identification of a problem tend to leave students concern or even anger. But if we let these feeling cynical rather than skeptical or inquisitive. feelings block our ability to listen to our students or to respect their opinions (especially when they • Because everyone interprets what they see differ from our own), we lose and hear through the lens of an important opportunity to their own experience, the connect. more different you are from your students, the more likely Here’s how you can retain it is that you will interpret your opinions without letting media messages differently. them get in the way of engag- So be prepared to encounter ing your students: opinions that differ from your own and to recognize that • Keep in mind that “The multiple interpretations can be Merchants of Cool” is about valid. teen culture. Just as you would treat a student’s ethnic, racial, or religious culture with respect, • Find out what has touched your students by approach their media culture with respect. opening your discussion with very broad questions, e.g., “What struck you most about this • Rather than convey a pre-determined film?” or “What will you tell your friends about conclusion, i.e., telling students what the this film when you see them at lunch?” or “In one message is, focus on giving students the skills word, describe how you felt while watching this they need to interpret messages for themselves. film. Explain your answer.” GENERAL MEDIA LITERACY QUESTIONS The questions below can be used to help students analyze the media they see and hear. They assume that all media is a “story.” Articles containing additional • Who is the “storyteller”? questions and strategies for deconstructing media, as well • What techniques are the “storytellers” using? as general principles of media • Why are they telling this particular “story” literacy can be found at: (what is their motive)? www.medialit.org/ReadingRoom/keyarticles/key.html • Who is the “story” for (who is the target audience)? Why is the “story” being told to that audience? • Is the story accurate, fair, and complete? If not, what information or perspectives are absent and why were they left out? 3 DISCUSSION TOPICS CONCEPTS: Marketing Techniques CONTENT: Analyzing Media • If you were training a “cool hunter” to come • Does the restrictive structure of MTV, which into your school, what would you train them to limits exposure to a small look for? Do “cool hunters” engage in a percentage of artists self-fulfilling prophecy by giving the teens they who have significant select money, information, and attention (which corporate backing, extend their influence)? mean that some- one else is really • Recently, political leaders have objected to making music filmmakers showing “R” rated films to teens under choices for us? age 17 in order to find out what would appeal to Is this kind of them. Is it okay to interview teens without narrow control of parents present or without parental consent? music inevitable? Would your answer to that question change if the Contrast the experience of teen was alone with interviewers in their bedroom a group like Limp Bizkit, which had corporate or in a focus group with other teens? Would your backing, to the careers of artists who have answer change depending on the purpose of the remained independent, like Ani DiFranco. focus group (i.e., which product will be sold using the information gathered)? • Is the “mook” (the stereotypically crude, ado- lescent male) real, or just a media construction? • “The Merchants of Cool” describes the prac- How about the “midriff” (the girl as sex symbol)? tice of “under-the-radar” marketing, including hir- Do you know any “mooks” or “midriffs”? Do you ing teens to log-on to chat rooms to talk up bands think you or your friends are influenced by the and recruiting college freshman to throw campus MTV standard of “cool”? If so, how? Are there parties where they distribute marketing materials. ways to be “cool” without copying media? How Ironically, marketers